The title character, successful enough at her craft to star in a sequel titled MAKE MINE MILK, remains unidentified even after research by intrepid IMDb adult mavens. This Frisco-based fetish film was aimed at mainstream porn audiences, and is suitably arousing.
Format is identical with that used by Nick Millard for dozens of his movies only with a different fetish. The anonymous filmmaker here (Nick was anonymous too until recently when he licensed his negatives for DVD revival) shares Nick's obsession with interesting looking nipples, as not only the Milkmaid but her femme supporting cast all have attractive aureolae.
Like Nick, the film was shot MOS, with female narration added, and a rousing jazz soundtrack. One gal even wears high-high black boots, another Nick mannerism. The point is that Nick's overly praised (latterly) style is merely a matter of necessity: it's the cheapest way to grind out a 1-hour porn film, especially without the niceties of attempted acting or sound recording.
Nominal story is simplicity in the extreme: The Milkmaid masturbates while reading a stroke magazine, has a lesbian tryst when her neighbor Deborah visits; has a foursome when gal pal Sandy and her boyfriend drop in, and later that night entertains bespectacled John Seeman leading to yet another foursome when Joey Silvera and date drop by. With black & white movie stills of Chaplin and others adorning the walls, the one-set wonder simply has sex on two pieces of furniture, and the Milkmaid transitioning by answering the doorbell to admit the cast for each segment.
Spring Finlay as Sandy the redhead is most impressive; she's an unsung porn actress whose work I also enjoyed in DIXIE and THREE SHADES OF COLOR. Valerie Franklin is also alluring as neighbor Deborah, although her extremely hirsute styling is an acquired taste. The Milkmaid herself generally delivers regular sex, with the lactating action taking up only a couple of minutes of running time. After all, this feature had to play as a regular porn booking back in the day.
The jazz score was more entertaining than Nick's, though in this case it is strictly pirated stuff, ranging from Chuck Mangione & a big band to a track from Miroslav Vitous's classic LP "Mountain in the Clouds". All the music, including a very effective piano trio version of "Blue Skies" is played over again two or three times for no apparent reason.
The femme narration attributed to The Milkmaid is simple, horny and arousing, unlike the pretentious tosh appended to his movies by Nick -he could learn a lesson watching this fellow-Frisco made opus. Her parting line is: "Christ, what a beautiful day", an upbeat tag.
Format is identical with that used by Nick Millard for dozens of his movies only with a different fetish. The anonymous filmmaker here (Nick was anonymous too until recently when he licensed his negatives for DVD revival) shares Nick's obsession with interesting looking nipples, as not only the Milkmaid but her femme supporting cast all have attractive aureolae.
Like Nick, the film was shot MOS, with female narration added, and a rousing jazz soundtrack. One gal even wears high-high black boots, another Nick mannerism. The point is that Nick's overly praised (latterly) style is merely a matter of necessity: it's the cheapest way to grind out a 1-hour porn film, especially without the niceties of attempted acting or sound recording.
Nominal story is simplicity in the extreme: The Milkmaid masturbates while reading a stroke magazine, has a lesbian tryst when her neighbor Deborah visits; has a foursome when gal pal Sandy and her boyfriend drop in, and later that night entertains bespectacled John Seeman leading to yet another foursome when Joey Silvera and date drop by. With black & white movie stills of Chaplin and others adorning the walls, the one-set wonder simply has sex on two pieces of furniture, and the Milkmaid transitioning by answering the doorbell to admit the cast for each segment.
Spring Finlay as Sandy the redhead is most impressive; she's an unsung porn actress whose work I also enjoyed in DIXIE and THREE SHADES OF COLOR. Valerie Franklin is also alluring as neighbor Deborah, although her extremely hirsute styling is an acquired taste. The Milkmaid herself generally delivers regular sex, with the lactating action taking up only a couple of minutes of running time. After all, this feature had to play as a regular porn booking back in the day.
The jazz score was more entertaining than Nick's, though in this case it is strictly pirated stuff, ranging from Chuck Mangione & a big band to a track from Miroslav Vitous's classic LP "Mountain in the Clouds". All the music, including a very effective piano trio version of "Blue Skies" is played over again two or three times for no apparent reason.
The femme narration attributed to The Milkmaid is simple, horny and arousing, unlike the pretentious tosh appended to his movies by Nick -he could learn a lesson watching this fellow-Frisco made opus. Her parting line is: "Christ, what a beautiful day", an upbeat tag.